The Bioscope (Oct-Dec 1913)

Bioscope | 85, Shaftesbury Avenue, Lenden, W Vol. xx NOTICES. Tu B:xscorz is published every Thursday at 85, Shaftesbury Avesue. London ‘ TELEPHONES: GERRARD 88653. REQENT 24663. HAMPSTEAD 4276 (Night Line). Telegrams and Cables: ‘‘ Gainsaid, Piccy, London.” EDITORIAL communications and matter for insertion should be 1 ares-ed to the Editor, and must reach the offices not later than first post Tuesday morning. All articles, paragraphs and drawnas couhlished in THe Bioscopr are the copyright of the pubi hers, from whem alone authority to republish or reproduce can bee ta red ADVERTISEMENT copy and instructions for alterations must reavh the nffices not tater than first post Monday morning to easure attention in the current week’ $s issue. PROOFS of ADVERTISEMENTS can only be submitted when ccpy .s received NOT LATER than : p.m. on Monday. AMNUAL SUBSCRIPTION (post free —Inland, Six Shillings azc Sixpenre; Canada, Eight Shillings and Eightpence; Abroad, Fourteen Shillings (Dollars 3.50.) BACK NUMBERS can be obtained from the Publishers at the f-..e:ng rates:—3 months, 4d per copy; 6 months, 6d; 12 merths, 348. S:ale of charges for displayed advertisements may be obtained eo application to the Manager. 1913. — OcToRER 2. PRINCIPAL CONTENTS. PAGE Trade Topics 5-11 At the Manchester Exhibition 13 Items of Interest : “ 15-19 Edinburgh Jottings 23 Lines from Aberdeen — : : i . 23 Cinematographic Musical Farce. By John Cher 27 Pictures in Ireland : : 31 Helpin Trouble ~— . 35-37 In Fair Devon z Bs : 43 The Picture Pianist s : ‘ Z 45 ‘* Last Days of Pompeii ”’ 47-49 The World of Finance e 51-53 “The Old Wood Carver "' 2 : ‘ 57 Happenings at Hull 59 An Actress of Infinite Charm 59 ‘Antony and Cleopatra "' 63 THE BIOSCOPE Parliament : : ' 65 An Almost Perfect Picture Play — 7 G7 Pick of the Programmes 73-79 Classified Advertisements 80-82 It is impossible to lightly pass over the recent presentations of two of the most wonderful films chat have ever begn produced, so gr2at atnumph are they for the art of cinematography. Such pic tures as “Antony and Cleopatra” and “The Last Days of Pompen” can only be described as masterpieces of acting, stayecraft, and photo ~raphy: and the very highest praise indeed 1s deserving on those responsible for their production. It is not, however, with these films as such that we wish to deal; but rather to emphasise the wondertul advance made on all previous great producnons, They have been so perfectly produced that they indeed point a moral of their ewn —that mere sensation, mere ‘ thrills,” serve po sincere purpose in the production of a dramatic pieture play. Considered even from the standpoint of attractiveness, both of these subceers will make a popular appeal, while, artistically. thew are practically perfect. Unfortunately, many producers labour under the delusion that it is necessary nowadays to tickle the public palate with as many _ nerveracking sensations as can be crowded into a limited number of feet of film. We hear of th2 experiences Of the artistes, of their narrow es Google THE CRAZE FOR SENSATION. capes; we are told of the thousand and one sensations which have been crammed into the film. And then we ask ourselves—What useful purpose does it server Is it absolutely necessary to indulxe in an orgy of sensationalism in order to produce dramatic picture plays? No answer can be more convincing, more impressive, than that supplied by the two above-named great productrons. The cincmatograph play is no longer regarded as a somewhat vulgar form of amusement. Its appeal to intelliyent and thinking people is unmistakable, and such plays as “Quo Vadis7” “Antony and Cleopatra.’ “ The Last Days of Pompeu,” ‘The House of Temperley.” and Sir Hubert von Herkomer’s recent production, “The Old Wood Carver,” to mention only a few, will dchght even the most. critical. Mer2. sensation will but nauseate those who are vuhne and anxious to believe in the art of cinematoyraphy; they demand something more satisfying to their intelligence than a string of sensa tional incidents, around which some kind. of plot has been woven. And surely their needs can be satisfied. The higher the ideal, the bet ter the producer's work; and these recant great films will play no small part in creating a standard which every producer should hope to attain. SUNDA: ONS 14-9